The wool for this jacket began on the back of two sheep many kilometres apart. The first fleece for the warp was shorn from a single Merino at Currotha in Moree, NSW. The wool was 21-22 micron and the bloodline is a cross between Bundemar, Rossmore and Eural. The second sheep that provided wool for the weft was shorn in Beaufort, Victoria. It was a single Corriedale fleece shorn at Niawanda. The distance between these two towns is approximately 1250kms; a 15-hour car ride between paddocks. The two fleeces were spun and weaved together by the donor’s mother, Marjorie Allnutt. A level of talent is required to spin Merino fleeces. It is easier to spin cross bred wool, such as Corriedale, because it is less dense and much easier to comb, card and then tease out for a spinning wheel. The donor Philip Allnutt had a suit tailored out of the completed fabric at Ravensdale J & Son, 37 Swanson Street, Melbourne. The tailor was then a member of the Master Tailors Federation of Victoria. The business closed around 1986. Adding to the jacket’s story is its relationship to the household board game “Squatter”. Marjorie Allnutt was the sister-in-law of Robert Crofton Lloyd, the inventor of the wool themed boardgame. With more than 500,000 games sold in Australia as of 2007, it is the most successful board game ever produced in the country. The original “Squatter” board game is located within the National Wool Museum’s Collection. Philip Allnutt donated the Jacket to the National Wool Museum Collection in 2021. Cream singled breasted jacket with a narrow overlap and one column of buttons for fastening. The jacket features notched lapels of a medium width and two buttons of a cream & brown marble. The jacket has three visible pockets. A jetted pocket with no flap is on the right breast. A further two jetted no flap pockets finish an inch above the hem, on either side of the opening. Internally, the jacket features a further two pockets and a white silk lining for comfort. At the cuffs, the jacket utilises another 2 buttons of the same cream & brown marble.merino, currotha, moree, nsw, niawanda, corriedale, beaufort, victoria, hand spun, hand weaved

Weaving is a craft activity that has been a part of many day centres. In this image, a blind woman sit in front of a loom, holding the threads, her lips slightly pursed, as if in conversation. Another woman stands beside her and looks down at the work, her hand holding the weaving slightly forward as she looks at the stitches.royal victorian institute for the blind, day centres

Clothing. Red polyester fabric, lined with white silky polyester lining, and hand-stitched, open weave fabric, possibly cotton to help hold shape and body. Symetrical shaping to a point on broad and narrow ends of tie. Cut on the cross to give stretch when tying the tie.RODNEY by John Webster, MADE IN AUSTRALIA.costume accessories, male, marong municipal band uniform tie

Part of the Zakrzewski Collection of spinning wheels donated to the National Wool Museum by Mr Wlodzimierz Zakrzewski. For many years, Mr Zakrzewski collected, researched and repaired spinning wheels from all over the world. This wheel is from Northern France-Flanders and was used for spinning flax to make the fine thread needed for lace making. It dates from the 19th century and bears the names Thirion and Villotte. Research by Mr Zakrzewski indicates that Villotte was a tiny village in the north of France and that Thirion is probably the name of the maker. This wheel was purchased from Margaret and Joan Mellor who were well known in Melbourne as teachers of hand spinning and weaving.Part of the Zakrzewski Spinning Wheel collection.Thirion / Villottehandicrafts - history flax, spinning wheels, highlights of the national wool museum: the zakrzewski spinning wheel collection - exhibition (28/07/2001 - 02/12/2001), zakrzewski, mr wlodzimierz, handicrafts - history, flax

This doll was a highly treasured toy for a girl. The amount of wear and tear given to this doll indicates the great attachment to and comfort that its owner had with it. This doll could have been on a farm or cattle property in the Kiewa Valley rather than in the town.Due to the lack of social activities in the valley during the period, self amusement at home and limited interaction outside of the valley would have been this dolls prime role for its owner. The time between the two World Wars was one of recession and limited funds outside that required for survival. This is clearly demonstrated by the painted face and home made repairs to the body and limbs Porcelain/ceramic doll with painted face features. Half ceramic arms and legs. One leg missing.one arm loose Stitched dress with lace bodice hand made Body padded with cloth and fine wood shavings filler. Scarf lace weavedoll, porcelain, toy, lace, girls' play

This dress was possibly manufactured by a local seamstress in the period circa early 1900.The quality of the dress suggests that the lady who wore it was from middle to upper range of the socio-economic structure within the Kiewa ValleyHistorically this item dating in the early 1900s was made by a very competent seamstress (lack of manufacturer's label). It demonstrates that the conditions of relative isolation within the Kiewa Valley was not extreme and that local manufacture of clothing items were available and at a very high level of quality. This item demonstrates that the hand made era was alive and an essential part of community/social adhesion within the valley.Beige knitted dress, sleeveless ladies pin weaved running from waist to bottom. Fine pin weave from bust to waist. Two mother of pearl buttons fastening opening front neck 11cm from neck to upper breastno manufacturer's label suggesting manufacturer was a very talented local seamstress costume, woollen, knitted, dress, female clothing

Historically this ledger not only details the legible hand writing of this era but also the day to day commercial activity in this region. The neatness and the diligence of those who were required to pen the information was a requirement by all who were in commercial trade. Emphasis on neatness was ingrained in students at a young age. This era was well before general typewriters and computers. Generally all students of commerce required an accuracy in writing and arithmetic. Neatness and order were a selection requirement This item clearly identifies the Kiewa Valley as having a substantial financial hub to accommodate the various commercial enterprises within a rural environment Circa 1880's. Although Kiewa Valley had mining, agriculture, cattle and sheep it was also composed of a mixed society, encompassing all levels of society at that period. It identifies some family farming history in the specific year of 1897Leather reinforced corner covers and spine. Remaining book front and back covers are protected by blue weaved cloth. The covers are very thick cardboard, in layers. Missing front index pages C,E - 0,Q,T,U,V,XSpine of book marked in faded golden print "Ledger". First page in hand writing "Ledger No. 5" and underneath handwritten "Commenced Jan 1st !897" After the index pages each page (double sided) has a page number stamped in black and is 6mm highledger, early bookkeeping, local history, commerce circa 1890

This table linen was bought from the Indian hawker, Budda Dean, by Henry Powell for his daughter, Ruth, to start her "glory box" on her 18th birthday. Selina Jane Powell and Henry James Powell had daughters, Ruth (married Roy Cope), Ethel (married Dan Locke). The family came to Orbost from Bega around 1902.This item is an example of a fine piece of linen commonly used in the first half of the 20th century..1 is a square table cloth. The centre is linen and the edges are crocheted in cotton. It appears to be hand-made. .2 is a rectangular tea towel or cloth. It is of a huckaback weave with a crocheted edge. .3 is a square cotton table napkin with a scalloped edge. .4 is a square cotton table napkin with a scalloped edge.linen tableware powell-henry-james handcraft

Over 150 years old in 1970. Donor,Joe Herman was a blacksmith, painter and signwriter in Orbost. Local footballer. Married Elsie Winchester This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.Cloth of fine hand-woven linen. all white with fine hem.linen manchester-table-linen handcrafts weaving

Donor, Joe Hermann was a blacksmith, painter, signwriter ,married Elsie Winchester. Hand woven table napkin. White. Damask print. Linen. Print is floral.J Cartledge 18napkin manchester table-linen handcrafts weaving

Made by Mrs McKeown (nee Ford) and used in her house.This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes,A small pillow sham, square shaped, made from a coarse weave cream fabric front and a backing of bright yellow fabric. Four sprays of pink & yellow flowers with green leaves are embroidered onto the front. Around the edge is a border of drawn thread work which allows the bright yellow backing to show through.table-linen home-manchester hand-embroidery

A hand-woven rectangular shaped cotton cloth with symmetrical designs. It is white, red, yellow, blue and green and there is a white fringe at each end.handcraft cloth weaving

This basket was hand-made by Mrs Tiny Solomon, an Aboriginal woman, in Orbost.This item is an example of an Indigenous style hand woven item of the very early 20th century. A shallow hand-woven grass basket. It has a flat bottom and a handle across the top.basket aboriginal weaving handcraft

This creative tapestry, woven in 1988, documents a thousand years of Warrnambool history. It hangs in the Great Circle Gallery at Flagstaff Hill and complements the theme of the display. Three local women, with the help of Museum staff, researched and designed the tapestry, which was woven in 1988 from wool and cotton. It is ten meters long and seventy centimetres high. The beautiful creation took seven months to create. The tapestry introduces the seafaring theme of Flagstaff Hill Maritime Museum and Village, and illustrates a timeline of events dating back to the arrival of Europeans in the Warrnambool area. It begins with the settlement of the area by Europeans and travels back in time as you walk further into the gallery, depicting shipwrecks along the coast, whaling in the area, early exploration by Europeans James Grant and Nicholas Baudin, back to the indigenous settlement of the area, represented by middens and indigenous symbols. Interestingly, before being hung in the gallery, the tapestry was originally hung with the intention of being framed from right to left. All materials in the cotton and wool tapestry, including dyed wool, were prepared for a cost of $33,000. The project was supported by local philanthropic groups.The tapestry is a hand worked creation by local women. It shows a visual display of a thousand years of Warrnambool's history, connecting the land and sea to people and events.Tapestry of the early history of the Warrnambool area, rectangular in shape. Materials include cotton and wool, some of the wool being hand-dyed. Handmade in 1988 by local women.A plaque accompanies the Tapestry "Flagstaff Hill Maritime Tapestry / 1989 / Tapestry: Woven Cotton and Wool / Mary O'Brien Gerda Shanley / Judith Stewart Beryl Conlan"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, tapestry, warrnambool history, warrnambool textiles, wall hanging, weave, south west victoria history, south west victoria timeline, indigenous people, early settlement, whaling, james grant, nicholas baudin, cotton, wool, dyed yarn, handmade, hand-dyed yarn

Object. Blue, damask weave fabric sash, 240 ms long(including fringing) woven with a rose design, and with a .8 cm wide white satin-finish stripe, just inside the side edges. A gold type metallic fringing, 5 cms deep, finishes each end. A woven panel just off centre of the sash, includes eleven figures, including children, three shields, a globe hand and heart. Radiating from the words- FRIENDSHIP LOVE AND TRUTH is an eye like shape, radiating light. At the lower edge of the panel, woven into the fabric are the words, MANCHESTER UNITY of the INDEPENDENT ORDER OF ODD FELLOWS. Above the woven panel is an ornate metal star, 10 cm x 10 cm, with eight points, and made from silver metal sequins and coiled wirework. Centre of the star is padded to a height of 1 cm, covered in satin, sequins and wirework in a circular shape. A 7 cm long metal tassell hangs from the lower edge of star. A length of silk ribbon, 1.2 cm wide is attached to the lower edge of the sash, perhaps to tie and hold the sash in position when being worn.organisation, masonic lodge, ceremonial sash

Founded in 1856, the Mission adopted, as its symbol, a flying angel inspired by a verse from the Book of Revelation (14:60) “Then I saw a flying angel in mid-heaven, with an eternal gospel to proclaim to those on earth, to every nation and tribe, language and people” The incorporated name of the Mission changed in 2000 and became the Mission to Seafarers, Victoria, the logo was also re-designed.This flag was most likely issued by the Central Mission in the UK or possibly ordered from Australia .This flag shows a former design of the Flying Angel carrying a Bible and the former name of the organisation before it was changed in 2000 to Mission to Seafarers. Flag or banner white printed on dk blue open weave 'scrim' flag with tough woven white nylon hem at left edge whit incoporates a woven length as tie and a wooden peg to secure to flagpole hoist cord.Features a white winged flying angel with outstretched arms, one hand holding an open book with lettering above and below ( see title details).See image; also on verso small folded black label secured to back of white hem edge with woven details of maker: (Tuttle...) see detail image.flag, flying angel, bible

The Mission adopted, as its symbol, a flying angel inspired by a verse from the Book of Revelation (14:60) “Then I saw a flying angel in mid-heaven, with an eternal gospel to proclaim to those on earth, to every nation and tribe, language and people” The incorporated name of the Mission changed in 2000 and became the Mission to Seafarers, Victoria, the logo was also re-designed.This flag was most likely issued by the Central Mission in the UK or possibly ordered from Australia .Flag or banner white printed on dk blue open weave 'scrim' flag with tough woven white nylon hem at left edge whit incoporates a woven length as tie and a wooden peg to secure to flagpole hoist cord.Features a white winged flying angel with outstretched arms, one hand holding an open book with lettering above and below ( see title details).See image; also on verso small red label secured to back of white hem edge with woven details of maker: (Tuttill...) see detail image.mission to seamen, mission to seafarers, flag, flying angel

The horse bridle was owned by Heather May (Piper) who participated in many regional shows throughout her years. It is unclear how Heather acquired the bridle from W. Cattlin but 'she was generally interested in good riders and horses and saw the unique opportunity to acquire it'. (Steven May, Heather's son, email 2.4.25). The bridle was originally owned by W. Cattlin and it was used in 1913 at the Bendigo Show in a riding event. W. Cattlin was involved in many coursing events in the early 1900's. W. Cattlin is mentioned in a Bendigo Advertiser article 6th October, 1904, when he was competing at the Rochester Show. Leather bridle with metal bit and fine basket weave material reins. Card attached to bridle with hand written note: ' Bridle used by Mr. W. Cattlin at 1913 Bendigo Show/ now Heather Piper'.bendigo show, w. cattlin, bridle, leather, fabric, heather may

BHS CollectionPhotograph of Hanro Weaving Machine: Black and white photo with white border. The photo has two men standing behind the weaving machine showing pulleys and wheels as finished fabric is rolled out at the end. Top left hand side hand printed in blue ink is *MP 360*. On the back is a circular stamp in blue ink of the Royal Bendigo Historical Society of Victoria. Hand printed in black ink is *MP 360 Weaving Machine Hanro Mills Bendigo*. Bottom left is hand written in pencil is the word *Hanro* with a line under it. Box 116Aphotograph, building, hanro, hanro

BHS CollectionSage coloured silk long sleeved dress. One piece full length dress. Full length side panels from shoulder to hem. Front of bodice extends below waist line to form two points on either side of front opening. Front opening is fastened with twelve fabric buttons (1-5cm) and button holes. Small standup collar(3cm) fastened at throat with hook and eye. Bodice shaped with two darts on either side of front opening. Small ruched pocket on LHS of bodice at waist level. Long narrow fitted sleeves shaped at the elbow. Decorative cuffs at wrists of ruched frilling (8cm) with triangularturned flap on top edge at back of cuff. Back of dress has four panels. The two centre panels extend below waist to to two points. The centre skirt panel is attached under the centre two panels and is gathered by five deep pleats to form a bustle effect extending to a long train. Front centre panel has horizontal gathering with ruched frills in centre, and at sides. Side panels overlap front centre panel. Hemline has pleated frill above the hem which is finished with cord. Skirt is lined with an open weave, brown cotton fabric. Bodice is lined with brown polished cotton. Hand stitched and machine stitched.costume, female, sage coloured silk dress

The fringed tablecloth is an example of a domestic item brought to Australia by early settlers in the Western District of Victoria as a home comfort.The fringed tablecloth helps tell the story of the arrival of European settlers and the small, light home comforts they brought with them to maintain a meaningful connection to home.Fringed and lined square tablecloth. The front is hand embroidered on brown loose weave fabric, the back a pale yellow polished cotton fabric. The edges on the back have been turned and machine-stitched. Hand-stitching has been used to join the top to the back and to add the fringe around the edges. The embroidery uses tapestry wool in cream, yellow, brown and green tones. The style is possibly an example of European folk-style hardanger embroidery technique. An inscription on a pink ribbon is sewn onto the reverse.“S F . 31303 OLIVER YEA - - [undecipherable]”flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, tablecloth, fringed tablecloth, embroidered tablecloth, european embroidery, hand sewing, domestic object, handmade, textile, silk thread, geometric design, vintage, long-stitch, zigzag design, decorative, home décor, domestic linen, table linen, hardanger embroidery, hardanger

The Percy Uebergang family lived at Tooram Park, Allansford from 1912 until 1992. Percy and Myrtle Uebergang's children were twins, Ray and Joyce born in 1926 who lived at Tooram Park until their deaths, Ray in 1986 and Joyce in 1992. Neither Ray nor Joyce married and following the death of her brother Joyce set up the Ray and Joyce Uebergang Foundation which supports the local community. This photograph is part of the collection of items given into the care of the Cheese World Museum. Percy Uebergang and Myrtle Wright were married on 3 September 1924 at Koroit. The attendants were Miss Ida Wright and Carl Uebergang. Newspaper reports of the wedding and welcome home reception are held in the collection. Myrtle's cousin, Florence Trigg, recalls that the wedding was held at 6am at Koroit in order to catch the train to Melbourne at 7am. This photograph was taken following their return. Percy and Myrtle are the parents of Ray and Joyce Uebergang. Black & white photograph of the wedding party of Percy Uebergang and Myrtle Wright and their attendants. The bride is wearing a calf length suit trimmed with a lace collar and shoes with lattice weave uppers. She has a horseshoe on her left arm and a small handbag in her right hand. The bridesmaid is wearing calf length long sleeved dress featuring a shawl collar and a sash at the waistline. She is carrying a handbag. The men are wearing 3 piece suits and lace-up boots, shirts with winged collars and ties.allansford, uebergang, percy, wright, myrtle, wright, ida, uebergang, carl, marriages, trigg, florence, koroit

The Ballarat School of Mines was a predecessor institution of Federatin University Australia. The scrap books were kept by the librarians and related to topics of interest to the Ballarat School of Mines, its students and its staff. 17 December 1954 - Ballarat Junior Technical School Headmaster's Report 05 February 1925 - Ballarat School of Mines Museum closure 25 February 1925 - War Trophies Museum 06 May 1925 - Ballarat's Museum. Where is it? Some Interesting Facts 14 May 1925 - White Flat Reserve 21 June 1928 - Ballarat School of Mines Procession 14 March 1929 - Mr A.D.R. Galloway - An Australian Abroad - Tragic end. 1929 - Technical Education 17 October 1929 - Agricultural Engineering 15 February 1930 - Ballarat School of Mines Student Association 20 February 1930 - 61s Annual Meeting of the Ballarat School of Mines 02 June 1930 - R. Young in Belgium and visits battlefields including Hill 60. 19 February 1931 - School Hostel Suggested 14 April 1931 - Frank Pinkerton Obituary 15 October 1921 - Life at Mt Isa (E. Loveland) 18 February 1932 - Discussion on Teachers College (Ballarat Teachers' College) 11 July 1931 - Phoenix Model Locomotive donation to the Ballarat School of Mines 06 May 1932 - The Mt Isa Country 11 Oct 1932 - Death of F.W. Alsopp (former SMB student) 21 January 1933 - Education In Victoria: Will a New Era Open 28 September 1933 - New Teaching System Explained by the Minister 17 February 1934 - Trip to New Guinea (A.F. Heseltine) 19 April 1934 - Early Ballarat - Address by Nathan Spielvogel 30 August 1934 - Ballarat Junior Technical School Tennis Court 23 August 1934 - Welding plant and Battery 17 June 1935 - Men about Town - A.F. Heseltine 21 June 1935 - Vocational Guidance 16 July 1935 - Ballarat School of Mines (history) 03 August 1935 - Men About Town - William H. Middleton 10 August 1935 - A.E.C. Kerrballarat school of mines, martha pinkerton, scrap book, a.w. nicholson, john lynch (junior), mount lyell, leslie evans, leslie blake evans, herald shield for athletics, ballarat school of mines museum, motor mechanics' classes for ladies, farm engineering, villers bretonneux carvings, trengrove, museum, port pirrie, j.i. simpson, reuben s. russelll, ballarat technical art school, charles harvey, elliott gower, la gerche, c. curnow, applied art, macroberston scholarship, ballarat school of mines procession, rag, vale park tree planting, smb ball, pottery classes, delineascope, mica smith scholarship, james peart, burma mnies, smb excursion to western australia, kalgoorlie, elsie mckissock, war trophies, warwick smith, spencer street bridge, war museum, richard j. young, alfred mica smith obituary, reginald callister, john rowell, sewerage installation, h.h. smith, w.h. middleton, olive scott, dolly whitehead, vale park, ballarat war museum opening, repatriation classes, sewerage at the ballarat school of mines, australian coals, j.p. ellsworth, yallourn, w.g. walker, reunion, norfolk island pine, mica smith memorial, jessice smith, harry fern, t. henderson, bhp, john adam, ols students' association, l.b. curnow, laura crouch, signwriting, excursion, port pirrie excursion, albert potter, pearl fricke, technica school sports, percy trompf, ballarat school of mines battery, albert mclean, a.d.r. galloway, alan douglas richard galloway, r.j. young, alan ludbrook, r. timpe, ballarat ironworkers and polytechnic association, h. jolly, carpentry, harold jolly, millinery classes, phoenix model locomotive, s.j. morgan, r.d. bannister, juvenile industrial exhibition, w.h. shaw, j.c. winds, f.h. davis, h.r. worland, w.t. magee, l. george, l. balhausen, white flat oval, resue from yarrowee creek, e. berriman, ballarat teachers' college, reg mcconnell, mount lyell co, munro reaper, munro reaper model, weaving classes, mervyn trimmings, briquette dust, edna findlay, jean rogers, n. mccallum, jessie glass, classroom ventilation, art metal, charles fenner, levi molyneux, olice scott, poster competition, kerr grant, w.h. steane, h. caddy, colvin smith, claude creelman, robert colins, stan hillman, n.c. heathcote, egg collection, john alexander, nornie gude, charles deane, graham hopwood, roswald john dart, max wilson, new battery, jess hopwood, william middleton, a.e.c. kerr, hand weaving classes, m. martin, a.h. leeson, mona rogerson, lorna bailey, prospectors classes, edwin robinson, kalgoorlie vist, railway locomotive

The blouse was made in Greece about 1945. The method used to create this fine embroidery was to copy a design from a cross stitch embroidery book guided by fine white tapestry threads tacked onto the yolk; when the design was finished, the embroiderer would pull out each fine white tapestry thread until only the embroidery remained around the yolk of the blouse.Throughout the centuries and up until the 1970s-80s, the women of Ithaca spun, wove, embroidered and knitted. Mothers prepared their daughters' 'glory boxes' trousseau (prikia), weaving bedspreads, rag mats (koureloudes) for everyday use, finer wool rugs for formal use, as well as linen sheets, pillowcases, blankets, towels and tablecloths. Linen was also woven to make the mattress that the young brides would take to their future homes. Mothers also wove and embroidered the fabric for their daughters' underwear and petticoats, nightgowns, etc. Sewing of the garments was also done by hand. The girls embroidered handicrafts using various stitches, they crocheted lace, netted pillows and even linen carpets. The handicrafts were usually embroidered by hand in cross-stitch using linen and cotton fabric. At the time there were merchants who travelled to the villages to sell machine made goods for the trousseaus, but most of the dowries consisted of the beautifully crafted work of the women. In the 30's the SINGER Company came to Ithaca and taught the girls sewing on the machine. A handwoven silk blouse. Colour - ecru. Hand embroidered, hand sewn, very fine white tapestry was tacked round the yolk; a gusset was sewn under each short puff sleeve at the armpit; two-tone hand made silk thread cords were passed through the hollow border of the sleeves and neckline.

This is a silk picture woven by the highly acclaimed French jacquard loom woven tapestry maker Neyret Freres. The scene is derived from a painting by Spanish artist Mariano Alonzo Perez (1853-1930). This style of weaving is referred to as a Stevengraph, named for their original creator, Thomas Stevens (1828-1888), a 19th century weaver from Coventry, England. Neyret Freres began manufacturing textiles in 1823, and are still in operation today. Silk embroidery in a decorative gilt frame. The scene depicts a group of women taking a fencing lesson, under the guidance of a male teacher. Two women are pictured pointing sabres at each other at the centre of the image, while four other women look on at the right of the image. The teacher is shown on the left hand side of the image, holding a sabre in his right hand which is pointing downwards so that the tip of his sabre is resting against the floor. All figures in the image are wearing Victorian era dress. There is a sticker for Gibson's Auctioneers attached to the bottom right hand corner of the front of the artwork. Two small stickers for Gibson's Auctioneers are attached to the back of the artwork, as well as a sticker referencing the framer of the work and a shipping sticker for International Art Services. Two d-rings and a wire fitting are attached to the back of the artwork for hanging.

This is a silk picture woven by the highly acclaimed French jacquard loom woven tapestry maker Neyret Freres. The scene is derived from a painting by Spanish artist Mariano Alonzo Perez (1853-1930). This style of weaving is referred to as a Stevengraph, named for their original creator, Thomas Stevens (1828-1888), a 19th century weaver from Coventry, England. Neyret Freres began manufacturing textiles in 1823, and are still in operation today. Silk embroidery in a decorative gilt frame. The scene depicts a Victorian era billiards room. An ornate billiard table is at the centre of the image. At the near end of the table, two men are crouching down and leaning over the table, examining billiard balls while holding billiard cues in their left hands. At the far end of the table, a woman is sitting on the corner of the billiard table while holding a billiard cue in her left hand, in an intimate face to face pose with a man standing behind the billiard table. All figures are depicted in Victorian era aristocratic dress. The bottom right corner of the images features the signature 'D'A. PEREZ'. Three small stickers for Gibson's Auctioneers are attached to the back of the artwork, as well as a sticker referencing the framer of the work and a shipping sticker for International Art Services. Two d-rings and a wire fitting are attached to the back of the artwork for hanging.

This quilt or wall hanging is entirely hand-made by noted Orbost district craftsperson, Elsa Williams (nee Elsa Beavis, b 27-5-1924, d 22-6-2007) who lived on a property at Wombat Creek near Orbost in the 1980s. Elsa had her own sheep, spun and dyed the wool, and crafted this quilt. For about 20 years, Elsa was a member of a weaving group started by Gwenda Bland at Lake Tyers. Elsa wove carpets for her own home at Wombat Creek. Gwenda Beavis was given this quilt by Elsa in 2007 and it was often displayed around the district, receiving many comments due to the quality of the workmanship and design. This quilt has been made from hand-spun and hand-dyed wool. The background is Tricot crochet squares, and the coloured decorations of Australian animals and plants have been embroidered onto the tricot squares. This items is significant because it shows excellent creativity and quality of workmanship. It also represents an era in Australia when hand-weaving, spinning, and dying wool became very popular as hand-crafts. A hand-made woollen quilt, cream background, with images of Australian flowers, plants, birds, and animals embroidered onto the cream background. elsa williams, handcrafted quilt, australiana design, spinning and weaving

This item is one of a collection of clothing items that belonged to the Stephenson family who lived at 22 McCracken Street, Kensington, Melbourne. Matthew Stephenson (1861 – 1943) who had grown up on the Bendigo goldfields and shifted to Melbourne in the early 1900’s was a train driver and later, a fireman with the railways. His wife Elizabeth Jane (Betsy) Wigley (1865 – 1953) also grew up on the goldfields around Majorca and Bendigo. They married in 1885 in Bendigo. They had two daughters – Ethel Evelyn Stephenson (1886 – 1956) and Lillian or Lila (1891 – 1977) who were milliners and dressmakers and who continued to live in the family home after the death of their parents. The family are recorded as living at 22 McCracken Street, Kensington, as early as 1914. It is not known who made or owned the clothing that makes up this collection but as it appears to be from the late Victorian and early Edwardian era however the vest was probably made by one of the three ladies of the house, for their husband and father, Matthew Stephenson. During W.W.2, a local Warrnambool couple (Meryl and Tony Everard) boarded with them – Tony was in the airforce training paratroopers to jump into (and survive) enemy territory and his wife Meryl worked in the Methodist baby Home. The Everards developed a close friendship with the Stephensons and were responsible for clearing out the house (and finding this clothing collection) after Lila died in 1977. Although by 1916, men's "ready to wear" clothing were widely available, this waistcoat was handmade (possibly by Matthew's wife or daughters). Men's suits in the early part of the twentieth century were predominantly three piece, consisting of a jacket, vest (or waistcoat) and trousers made from matching fabrics. Some men liked to wear a watch attached to their waistcoat with a fob chain. This item is an example of clothing worn by men on special occasions, in the late 19th and early 20th century.A man's waistcoat with cream cotton weave front pieces and cream cotton lining and back. The left front features five machine worked horizontal buttonholes and one vertical buttonhole (for a fob watch) and two inset pockets. The right hand side has five corresponding stud holes and one inset pocket. The studs or buttons are missing. The lining and back of the waistcoat are made from a plain cream cotton fabric. The back also features a cotton strap with a two pronged metal buckle.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, vest, waistcoat, needlework, sewing, stephenson family, man's waistcoat